Art And Photography David Campany
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The Cinematic (Whitechapel: Documents of Contemporary Art) $15.30 The cinematic has been a springboard for the work of many influential artists, including Victor Burgin, Philip-Lorca diCorcia, Stan Douglas, Nan Goldin, Douglas Gordon, Cindy Sherman, and Jeff Wall, among others. Much recent cinema, meanwhile, is rich with references to contemporary photography. Video art has taken a photographic … |
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Art and Photography (Themes & Movements) $12.66 ‘Art and Photography’ surveys a rich and important history, from the 1960s to the 21st century. Arranged thematically, it presents works by the most significant international artists who have explored and extended the boundaries of photography. This influential body of work by over 160 artists over four decades is contextualised in the ‘Documents’ section by original artist’s statements and interv… |
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Photography and Cinema (Reaktion Books – Exposures) $16.90 What did the arrival of cinema do for photography? How did the moving image change our relation to the still image? Why have cinema and photography been so drawn to each other? Close-ups, freeze frames and the countless portrayals of photographers on screen are signs of cinemaâs enduring attraction to the still image. Photo-stories, sequences and staged tableaux speak of the deep influence of… |
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The Cinematic By Campany, David (EDT) $28.24 A collection of essays by artists, photographers, and theorists looks at the changing relationship between film and photography, examining the creative interaction between the moving and still photograph in works by Roland Barthes, Henri CartierBresson, Pier Paolo Pasolini, Andy Warhol, Susan Sontag, Sergei Eisenstein, Lszl= MoholyNagy, and others. Original. Author: Campany, David (EDT) Series Title: Documents of Contemporary Art Series Publication Date: 2007/05/31 Number of Pages: 221 Binding Type: Paperback Language: English Depth: 1.00 Width: 5.75 Height: 8.25 |
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Photography and Cinema By Campany, David $47.39 Author: Campany, David Series Title: Exposures Publication Date: 2008/11/15 Number of Pages: 160 Binding Type: Paperback Language: English Depth: 0.75 Width: 7.75 Height: 8.75 |
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Jeff Wall by Campany, David Edition ILL, 0 $18.49 Jeff Wall's Picture for Women (1979) marks the transition of photography as an art form from the printed page to the gallery wall. Before this, photographs—from the orthodox photographic work of Walker Evans to the Conceptual photography of Dan Graham—seemed intended for the page even when hung in a gallery. In Picture for Women, a woman looks outward, as if at the viewer; a camera occupies the center of the photograph; the photographer stands on the right. Modeled on Manet's famous painting Un bar aux Folies-Bergère, in which a barmaid seems to look directly out of the painting, observed by a man on the right, Picture for Women establishes its own art historical genealogy, claiming its rightful position within the canon. Wall's photograph is an ambitious attempt to relate the artistic and spectatorial demands of the late 1970s to a modernist pictorial art that had been too hastily rejected by Conceptualism. In this illustrated study, David Campany offers an account of Wall's move from a Conceptual approach to a reengagement with the idea of a singular (as opposed to serial) picture. He shows that Wall's decision to present his work as a large-scale back-lit transparency, together with his commitment to a singular image, amounted to a radical departure. He contrasts Wall's idea of the photograph as a tableau or picture, inherited from the history of painting, with the works of the Pictures Generation—including Richard Prince, Cindy Sherman, and Jack Goldstein—and argues that Picture for Women is inseparable from the modern fate of the picture in general |
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Photography and Cinema by Campany, David Edition ILL, 0 $25.49 What did the arrival of cinema do for photography? How did the moving image change our relation to the still image? Why have cinema and photography been so drawn to each other? Close-ups, freeze frames and the countless portrayals of photographers on screen are signs of cinema’s enduring attraction to the still image. Photo-stories, sequences and staged tableaux speak of the deep influence of cinema on photography. Photography and Cinema a considers the importance of the still image for filmmakers such as the Lumière brothers, Alfred Hitchcock, Michelangelo Antonioni, Jean-Luc Godard, Chris Marker, Mark Lewis, Agnès Varda, Peter Weir, Christopher Nolan and many others. In parallel it looks at the cinematic in the work of photographers and artists that include Germaine Krull, William Klein, John Baldessari, Jeff Wall, Victor Burgin and Cindy Sherman. From film stills and flipbooks to slide shows and digital imaging, hybrid visual forms have established an ambiguous realm between motion and stillness. David Campany assembles a missing history in which photography and cinema have been each other’s muse and inspiration for over a century. |
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Jeff Wall: the Crooked Path by Wall, Jeff; Fried, Michael; Campany, David; De Wolf, Hans Edition ILL, $36.99 The photography of Jeff Wall (born 1946) is consciously and profoundly saturated in the social: in the Vancouver art community from which he first emerged, fully formed, in the late 1970s; in the racial and gender politics of our times, which he analyses with marvelous clarity in his huge photographic light boxes that declare an equal status with painting through their scale and their carefully plotted depth and grandeur; in the art history pantheon that informs his staged compositions, from Hokusai to Velasquez and Manet; and in his influence on at least two generations of photographers, most notably the Dusseldorf school (Andreas Gursky once cited Wall as a great model for me ). Jeff Wall: The Crooked Path examines the cultural context for Wall’s tremendous achievement in photography. Wall himself has chosen 25 of his own photographs, taken between the late 1970s and the present, and has constellated them among the visionary company his work keeps, alongside reproductions of works by Marcel Duchamp, Diane Arbus, Eugene Atget, Wols, Andreas Gursky, David Claerbout, Thomas Struth, Frank Stella, Robert Smithson, Rodney Graham, Ian Wallace, Lawrence Wiener and R.W. Fassbinder. The Crooked Path orients Wall’s photography across ten themed chapters, each of which is prefaced with an interview with Wall by Hans De Wolf. Also included are testimonies and essays by fellow artists and art historians, such as Luc Tuymans, Lawrence Weiner, Michael Fried and David Campany. |
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The Cinematic by Campany, David; Barthes, Roland; Baudrillard, Jean; Bellour, Raymond; Bragaglia, Anto Giulio; Burgin, Victor; Cartier-Bresson, Henri; David, Ca $23.49 The cinematic has been a springboard for the work of many influential artists, including Victor Burgin, Philip-Lorca diCorcia, Stan Douglas, Nan Goldin, Douglas Gordon, Cindy Sherman, and Jeff Wall, among others. Much recent cinema, meanwhile, is rich with references to contemporary photography. Video art has taken a photographic turn into pensive slowness; photography now has at its disposal the budgets and scale of cinema. This addition to Whitechapel's Documents of Contemporary Art series surveys the rich history of creative interaction between the moving and the still photograph, tracing their ever-changing relationship since early modernism.Still photography–cinema's ghostly parent–was eclipsed by the medium of film, but also set free. The rise of cinema obliged photography to make a virtue of its own stillness. Film, on the other hand, envied the simplicity, the lightness, and the precision of photography. Russian Constructivist filmmakers considered avant-garde cinema as a sequence of graphic shots; their Bauhaus, Constructivist and Futurist photographer contemporaries assembled photographs into a form of cinema on the page. In response to the rise of popular cinema, Henri Cartier-Bresson exalted the decisive moment of the still photograph. In the 1950s, reportage photography began to explore the possibility of snatching filmic fragments. Since the 1960s, conceptual and postconceptual artists have explored the narrative enigmas of the found film still. The Cinematic assembles key writings by artists and theorists from the 1920s on–including László Moholy-Nagy, Pier Paolo Pasolini, Victor Burgin, Jeff Wall, and Catherine David–documenting the photography-film dialogue that has enriched both media. |
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Atget: Photographe de Paris by Atget, Eugene; Campany, David; Ladd, Jeffrey; Mac Orlan, Pierre Edition ILL, 0 $29.99 Text by David Campany, Pierre Mac Orlan, Jeffrey Ladd. |
